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Journal articles on the topic 'Diegetic'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 January 2023

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1

Castelvecchi, Stefano. "On “Diegesis” and “Diegetic”: Words and Concepts." Journal of the American Musicological Society 73, no. 1 (2020): 149–71. http://dx.doi.org/10.1525/jams.2020.73.1.149.

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In discussing those passages of an opera in which not only the audience but also the characters of the story hear music, musicologists often write of “diegetic” music, adopting well-established terminology from film studies and narratology. The terms “diegesis” and “diegetic” stem from ancient Greek, and owe their long-standing fortune to their presence in seminal writings by Plato and Aristotle; scholars of narrative, drama, film, and music occasionally note, however, that the meaning assumed by “diegesis” and “diegetic” in recent decades is very different from (or even opposite to) the historical one. In fact, the two meanings coexist in current scholarly usage, engendering terminological (and therefore conceptual) confusion. The goal of this article is to explain how this situation came about. Ancient Greece witnessed the emergence of the basic narratological distinction between recounting and enacting, and its gradual (and far from straightforward) association with the terminological distinction between “diegesis” and “mimesis.” A misinterpretation of Aristotle by French filmologues around 1950 gave rise to the modern meaning of “diegesis” (“storyworld,” or even simply “story”), while the misapprehension by which the ancient and modern terminologies are deemed to have arisen entirely independently of each other originates in the influential work of narratologist Gérard Genette. The story reconstructed here involves to-ing and fro-ing between words and concepts: what may appear as a purely lexical study is also, of necessity, a study about ideas. Moreover, this story might serve more generally as an apologue, reminding us of the sometimes peculiar ways in which bits of our collective wisdom emerge and become accepted.
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2

Neumeyer, David. "Diegetic/Nondiegetic: A Theoretical Model." Music and the Moving Image 2, no. 1 (April 1, 2009): 26–39. http://dx.doi.org/10.5406/musimoviimag.2.1.0026.

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Abstract Two pairs of terms, diegetic/nondiegetic and synchronization/counterpoint, have remained central to discussions of film music. The first of these in particular has strong connections to film studies and literary studies (specifically, narratology). A model that positions diegesis in relation to (between) spatial anchoring and narration can help sort out the shift from opposition to function and make the diegetic/nondiegetic pair more reliable for interpretation of film music.
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Pascal, Marie. "L’écrit à l’écran : écriture, texte et lisibilité dans la transcréation québécoise." Canadian Journal of Film Studies 30, no. 1 (April 2021): 25–48. http://dx.doi.org/10.3138/cjfs-2019-0019.

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From the first movies to talkies, films have never been able to completely emancipate from language, the main way of communicating a story, and thus to ignore the written word. It can however be surprising that the written word hasn’t completely disappeared, even retaining an important role in talking cinema, since actors can now express themselves verbally and the audience can gather, thanks to the audio, all the information required to understand. There still remain some traces of writing on the screen, which Chion (2013) distinguishes as being “diegetic” or “non-diegetic.” Several types of writing, distinguished by their relation to the film’s diegesis, require the reviewer to give them particular attention since, even though their presence can sometimes be ignored, such presence is not natural in the “audio-visual.” Focus on the written word is even more important for those who study film adaptations or “transcreations”, since the diegesis is, as the first witness of the “story” (Gaudreault, 1988), conveyed in writing only. The first question will thus be to analyze the characteristics of the endurance of hypotexts via the written word in transcreations and to evaluate its presence in relation to films d’auteur. The second question, which goes beyond the typology proposed by Chion, will be to see if the written word can be limited by these two poles (diegetic and extradiegetic) or if their boundaries are porous, which would imply a reflexive and metafictional dialogue in many cases.
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4

Hunter, Aaron. "When is the now in the here and there? Trans-diegetic music in Hal Ashby’s Coming Home." Alphaville: Journal of Film and Screen Media, no. 3 (August 8, 2012): 36–48. http://dx.doi.org/10.33178/alpha.3.03.

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While it would be a stretch to classify Hal Ashby as a postmodernist filmmaker (with that term’s many attendant ambiguities), his films of the 1970s regularly evince post-Classical stylistic and narrative strategies, including non-linear time structures, inter-textual self-references, open endings, and nuanced subversions of the fourth wall. Ashby’s most consistently playful approach to form comes by way of his integration and development of trans-diegetic musical sequences within his body of work. Music in Ashby films creates a lively sense of unpredictability, and each of his seven films of the 1970s employs this strategy at least once. Moreover, trans-diegetic music in Ashby’s films becomes a device that allows the director to elide moments in time. It functions as an editing tool, creating a bridge between often disparate events. However, it is also a narrative device that both compresses and stretches time, allowing for an on-screen confluence of events that at first appear to take place simultaneously or sequentially, but which actually occur over different moments or lengths of time. Yet while Ashby is not alone as a Hollywood director interested in exploring the formal possibilities that trans-diegesis might bring to his movies, film studies has begun only relatively recently to explore and analyse this technique. After briefly discussing the current critical discussion of trans-diegetic music and explicating patterns of its use in Ashby’s career, this paper explores an extended display of the strategy in the film Coming Home (1978). By interrogating its use as both narrative device and formal convention in this instance, the paper attempts both to understand trans-diegesis as a key component of Ashby’s filmmaking style and also to forge ahead in expanding the discussion of trans-diegesis within film studies.
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5

Ciric, Marija. "Narration and film music diegetic and non-diegetic music in film." Kultura, no. 134 (2012): 129–40. http://dx.doi.org/10.5937/kultura1234129c.

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6

Dykhoff, Klas. "Non-diegetic sound effects." New Soundtrack 2, no. 2 (September 2012): 169–79. http://dx.doi.org/10.3366/sound.2012.0037.

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7

Samuel, Kayode M., and Samuel A. Adejube. "What a sound! Diegetic and non-diegetic music in the films of Túndé Kèlání." EJOTMAS: Ekpoma Journal of Theatre and Media Arts 8, no. 1-2 (March 11, 2022): 274–94. http://dx.doi.org/10.4314/ejotmas.v8i1-2.15.

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The agency of music to effectively convey ideas in movies and articulate visual-emotional experience of the audience during mise-en-scene has long been established. Existing studies have focused more on the elements that characterize film as a visual experience, than on the diegetic (foreground) and non-diegetic (background) music, especially along their aural aesthetic lines. This article, therefore, investigated the aesthetic connections between traditional and performative significations of music in selected movies of Túndé Kèlání, one of Nigeria’s foremost cinematographers. Using a qualitative (videographic) research design, three movies, Ti Oluwa N’ile, Saworo Ide and K’oseegbe, were purposively selected, based on their unique aesthetic traits and distinct cultural identity quality, for content analysis. A close reading of the musical and textual data was done. Findings revealed that cultural themes in the movies, bordering on entertainment, rituals, politics, philosophy, didactic, panegyric and dirge, were projected through African and Western musical instruments, while folklore and folksongs constituted major sources of materials and cultural signifier. The authors argue that examples of the dialectic and sequential troughs in the performance of music exemplify aesthetic reinforcement, not only in terms of the didactic functionality it expresses, but also in what it conceals.
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8

McLean, James. "Time and relative dimensions in serialization: Doctor Who, serialization, fandom and the adaptation of a police box." Journal of Adaptation in Film & Performance 15, no. 1 (March 1, 2022): 113–30. http://dx.doi.org/10.1386/jafp_00072_1.

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This article investigates the aesthetic of the twentieth-century Metropolitan Police box and its ongoing association with the TARDIS time machine from the BBC’s television science-fiction show, Doctor Who. Doctor Who fans explore the police box aesthetic through its multiple identities, where it is celebrated, investigated and recreated. This article draws on Catherine Johnson’s theories of pseudo-diegesis and extra-diegesis to demonstrate how such fan interests have a visible effect on Doctor Who’s ongoing production decision-making. In doing so, this article argues for greater attention on non-human social actors within adaptation, and how consumer interest, enacted in multiple ways, has potential power in the shaping and reshaping, of the diegetic worlds of ongoing serializations.
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McLean, James. "Time and relative dimensions in serialization: Doctor Who, serialization, fandom and the adaptation of a police box." Journal of Adaptation in Film & Performance 15, no. 1 (March 1, 2022): 113–30. http://dx.doi.org/10.1386/jafp_00072_1.

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This article investigates the aesthetic of the twentieth-century Metropolitan Police box and its ongoing association with the TARDIS time machine from the BBC’s television science-fiction show, Doctor Who. Doctor Who fans explore the police box aesthetic through its multiple identities, where it is celebrated, investigated and recreated. This article draws on Catherine Johnson’s theories of pseudo-diegesis and extra-diegesis to demonstrate how such fan interests have a visible effect on Doctor Who’s ongoing production decision-making. In doing so, this article argues for greater attention on non-human social actors within adaptation, and how consumer interest, enacted in multiple ways, has potential power in the shaping and reshaping, of the diegetic worlds of ongoing serializations.
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10

Have, Iben. "The ambiguous voices of Possum." Short Film Studies 6, no. 1 (April 1, 2016): 49–52. http://dx.doi.org/10.1386/sfs.6.1.49_1.

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A categorization of the levels of the soundtrack will provide the foundation for analytical notions on how the soundtrack of Possum challenges the recipient by operating in a field between diegetic and non-diegetic, realistic and supernatural, and human and animal sounds.
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11

Tsybina, T. A. "The functions of film credits in the diegetic and non-diegetic space of a film." Pyatigorsk State University Bulletin, no. 1 (2021): 125–29. http://dx.doi.org/10.53531/25420747_2021_1_125.

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12

Milostivaya, Alexandra. "Undercover Reporting on Refugees in European Union: Diegetic Narration." SHS Web of Conferences 50 (2018): 01108. http://dx.doi.org/10.1051/shsconf/20185001108.

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The article considers characteristics of telling stories in diegesis on the material of newspaper narrative. The aim of the article is examining communicative and pragmatic parameters of German newspaper reportages under the conditions of transformation of a multi-chronotope paper narrative model with the help of displacement of a communicative act of a narrator and a reader into the temporal and local space of the described characters. As examples of diegetic journalist texts, Shams Ul-Haq’s reports are considered that are outstanding specimen of German journalism. The reporter came from Pakistan and settled in Germany. The given reportages were made using the method of undercover observation, when the journalist is disguised as a described character and is a communicator in diegesis. The research makes it possible to conclude that pragmatically meaningful positions in narrative are the chronotope, the voices of the storyteller and the described characters, communicating with recipients. The article confirms the thesis of relevance of speech act synergy for optimization of persuasion in the research report with the help of displacement of the narrator/journalist into the environment of the described characters, where he can start a dialogue with the characters and the reader.
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13

Halskov, Andreas. "‘I just had a dream about it’: Subjectivity, sensitivity and sonic impressionism in Avondale Dogs." Short Film Studies 9, no. 1 (January 1, 2019): 39–42. http://dx.doi.org/10.1386/sfs.9.1.39_1.

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Using montage editing, close-ups and subjective sound, the award-winning short film Avondale Dogs (1994) tells the story of a young boy and his dying mother. The protagonist, Paul, is quiet and sensitive, and his inner turmoil is conveyed through conspicuous cuts and a vivid use of diegetic and non-diegetic sound.
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14

Feyersinger, Erwin. "Diegetic Short Circuits: Metalepsis in Animation." Animation 5, no. 3 (November 2010): 279–94. http://dx.doi.org/10.1177/1746847710386432.

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15

Mazey, Paul. "Restrained Airs: The Diegetic Surface and Nondiegetic Depth of British Film Music." Journal of British Cinema and Television 16, no. 4 (October 2019): 429–43. http://dx.doi.org/10.3366/jbctv.2019.0493.

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This article considers how pre-existing music has been employed in British cinema, paying particular attention to the diegetic/nondiegetic boundary and notions of restraint. It explores the significance of the distinction between diegetic music, which exists in the world of the narrative, and nondiegetic music, which does not. It analyses the use of pre-existing operatic music in two British films of the same era and genre: Kind Hearts and Coronets (1949) and The Importance of Being Earnest (1952), and demonstrates how seemingly subtle variations in the way music is used in these films produce markedly different effects. Specifically, it investigates the meaning of the music in its original context and finds that only when this bears a narrative relevance to the film does it cross from the diegetic to the nondiegetic plane. This reveals that whereas music restricted to the diegetic plane may express the outward projection of the characters' emotions, music also heard on the nondiegetic track may reveal a deeper truth about their feelings. In this way, the meaning of the music varies depending upon how it is used. While these two films may differ in whether or not their pre-existing music occupies a nondiegetic or diegetic position in relation to the narrative, both are characteristic of this era of British film-making in using music in an understated manner which expresses a sense of emotional restraint and which marks the films with a particularly British inflection.
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16

Smith, Jennifer. "Voices, Combat, and Music." Journal of Sound and Music in Games 2, no. 2 (2021): 42–62. http://dx.doi.org/10.1525/jsmg.2021.2.2.42.

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Role-playing video games can highlight a sense of player identification with a pre-made player-character through the inclusion of the voice; this can include diegetic character dialogue, the non-diegetic sung voice, and voice-overs. Ensuring that the player can connect with their player-character on an individual level is key to forming a suspension of disbelief and immersion with a game. Final Fantasy XV emphasizes collaboration between the player, player-characters, and non-playable characters during combat, cutscenes, and exploration. This camaraderie effect actively engages the player with multiple characters through the constant use of the diegetic spoken voice to communicate between the player-character, Noctis, and the three other character identities, Prompto, Ignis, and Gladiolus. The game’s opening rendition of Ben E. King’s “Stand by Me,” performed by Florence + the Machine, provides the player with four narrative themes that are present throughout the game. These themes include a coming-of-age story, character relationships, and the development of a greater evil within the narrative. Unique in its position as a pre-composed song, “Stand by Me” plants the idea that the player will not be alone in their journey, as character allies will stand by Noctis, from the beginning of the game. Final Fantasy XV uses vocalizations in both the diegetic and non-diegetic audio space in order to reflect the characteristics of the playable characters. The vocal relationship between the player’s characters provides directional feedback and information for the player within combat, alongside foretelling the stories of certain characters.
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Pronin, Alexander А. "The Diegetic Narrator in the Documentary-Portrait." Vestnik of Saint Petersburg University. Language and Literature 13, no. 3 (2016): 157–66. http://dx.doi.org/10.21638/11701/spbu09.2016.318.

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18

Mitarcă, Monica. "Voice-over, music, diegetic sound and pornography." Porn Studies 2, no. 1 (January 2, 2015): 93–95. http://dx.doi.org/10.1080/23268743.2014.995952.

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19

Rafferty, Barclay. "The new ‘Othello Music’: From the play text to opera, diegetic/non-diegetic soundtracks and popular music allusions." Journal of Adaptation in Film & Performance 8, no. 3 (December 1, 2015): 195–211. http://dx.doi.org/10.1386/jafp.8.3.195_1.

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20

Zovko, Aljoša. "The Interplay of Silence, Diegetic Sound and Music in Contemporary German Cinema." Hum, no. 25 (February 4, 2022): 58–66. http://dx.doi.org/10.47960/2303-7431.25.2021.58.

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Scholarly works on film sound are vastly outnumbered by works on film visual aspects. One reason for this discrepancy lies in the “hegemony of the visual”. Another may be the dominance of the visual in the cinema viewing experience, which results in our being naturally less attuned to how we are affected by the aural aspect. Nonetheless, the interaction of music, diegetic sound, and silence plays a vital role in achieving the director’s intention in creating a film and is crucial to establishing the bond between the film and its viewer. In his paper, the author shows, on the example of German contemporary film and TV series, that any analysis of film must examine the interaction of film music, dialogue, silence and diegetic sounds. The paper explores a specific approach to the sonic landscape in German film and TV series and raises questions to be pursued in further research on this topic. Keywords: film sound; film theory; German cinema; sound design; diegetic sound
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Pigulak, Joanna. "Dźwięki reaktywne, dźwięki antycypujące. Z zagadnień funkcjonowania ścieżki dźwiękowej w grach wideo." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 28, no. 37 (March 31, 2021): 317–27. http://dx.doi.org/10.14746/i.2020.37.18.

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The paper aims to outline features of video games’ sounds. In order to do that, the author presents the main thesis of ludomusicology and a theory of film music. The first part of the paper deals with a brief introduction concerning the characteristic of two important aspects of video games’ sounds: reactive and anticipating sounds. In the second part of the paper, the author explores the issue of facultative dialogues and adaptive sounds, as well as diegetic and non-diegetic sources of sound. The author examines the hypothesis that using sounds in video games determines gameplay and impacts players immersion.
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22

Yang, Xiran, and Jonathan Webster. "To be continued: meaning-making in serialized manga as functional-multimodal narrative." Semiotica 2015, no. 207 (October 1, 2015): 583–606. http://dx.doi.org/10.1515/sem-2015-0066.

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AbstractThis paper discusses meaning-making in serialized adventure manga (Japanese comics) by examining its metafunctional organization. Manga, whose components cover a multimodal cline from graphics to verbals, is seen as a multimodal narrative whose features are mapped onto the different metafunctions: time – experiential, with diegetic time lapse defining the start point to construe experience; cause-effect – logical, with relative positioning of components reflecting logical relations diegetically; space – compositional, with diegetic and extradiegetic spaces contributing to the coherence and cohesion of the story. The overarching interpersonal aspect of manga makes it a medium of exchange between the author and the reader and encourages the reader to actively decode idiosyncratic meanings.
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23

Lorek-Jezińska, Edyta. "Mimesis in Crisis: Narration and Diegesis in Contemporary Anglophone Theatre and Drama." Text Matters, no. 7 (October 16, 2017): 353–67. http://dx.doi.org/10.1515/texmat-2017-0019.

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The main objective of my article is to investigate the ways in which contemporary Anglophone drama and theatre actively employ diegetic and narrative forms, setting them in conflict with the mimetic action. The mode of telling seems to be at odds with the conviction not only about the mimetic nature of performance and theatre but also about the growing visuality of contemporary theatre. Many contemporary performances and dramatic texts expose the tensions between the reduction of visual representations and the expansion of the narrative space. This space offers various possibilities of exploring the distance between the performers and spectators, tensions between narrative time and place and the present time of performance, the real and the imagined/inauthentic/fake, traumatic memory and imagination. The active foregrounding of the diegetic elements of performance will be exemplified with reference to several contemporary plays and performances: my focus will be on the uses of epic forms in what can be called post-epic theatre, illustrated by Kieran Hurley’s Rantin (2013); the foregrounding of the diegetic and the undecidability of the fictional and the real, instantiated by Forced Entertainment’s performances (Showtime, 1996) and Martin McDonagh’s The Pillowman (2003); and the narrative density and traumatic aporia of Pornography (2007) by Simon Stephens.
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SALNIKOVA, EKATERINA V. "Diegetic Invisible/Vanishing in Silent Cinema and its Origins." Art and Science of Television 18, no. 1 (2022): 49–78. http://dx.doi.org/10.30628/1994-9529-2022-18.1-49-78.

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The article studies the early silent cinema motif of disappearance or invisibility of bodies in a frame. In adventure and adventure-fantasy films, this motif performs a whole set of functions. Using the example of several films, I uncover its rich semantic potential. Further on, the mythological origins of the motif are analyzed, as are the role of theater, circus, attraction and fairy tale in the prehistory of the diegetic disappearing. Attention is paid to the aesthetics of the trick in Georges Méliès’ films, where the condition and location of the vanishing body remain uncertain. Narrative films suggest a more definite interpretation of the character’s disappearance. For instance, the final episode of the British film The Life of Charles Peace (1905) implies the hero’s death by execution. However, the invisibility of the body creates the illusion of a likely open finale. Another example is D. W. Griffith’s The Adventures of Dollie (1908) about a girl locked in a barrel and traveling down the river to be returned to her father in the end. The happy-end gives this melodrama a touch of fantasy, presenting America as a wise natural universe. Working with the motif of the diegetic invisible/disappearing is significant for the cinema aesthetics, regardless of the motivations and meaning of what is happening. The diversity of the diegetic invisible reflects the need of cinema to model the picture of the magical universe.
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25

Lauridsen, Palle Schantz. "Genhør med dogme 95 [Dogme 95 reheard]." MedieKultur: Journal of media and communication research 26, no. 48 (May 17, 2010): 17. http://dx.doi.org/10.7146/mediekultur.v26i48.2116.

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Assuming that the 10 Danish Dogma films can be considered genre films, the article analyses the use of sound and music in these films. The “Vow of Chastity” proposed by the Dogma directors specifies that sound and image must never be produced separately, and the article presents elements of productions practice as well as aesthetic considerations. Using examples from the finished films, it demonstrates how the artistic intention formulated in the set of rules was handled during production and how it influenced the finished films. The individual Dogma films were quite different from an auditory point of view, but among the auditory characteristics of the films were the auditory jump cut and the abolition of the traditional dichotomy between diegetic and non-diegetic music.
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26

Harder, M. Annette. "Insubstantial Voices: Some Observations on the Hymns of Callimachus." Classical Quarterly 42, no. 2 (December 1992): 384–94. http://dx.doi.org/10.1017/s0009838800016013.

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The hymns of Callimachus are generally divided into two groups: the ‘mimetic’ hymns (2, 5 and 6), which seem to be enactments of ritual scenes, and the ‘nonmimetic’ hymns (1,3 and 4), which seem to follow the pattern of the Homeric hymns. Occasionally this distinction has been challenged, for instance by pointing to an' element of mimesis inH. 1, but on the whole the division into two groups has been 1 adhered to rather rigidly. A drawback of this distinction is that it seems to prevent further insight into an important aspect of Callimachus' poetic technique. I think that there is in fact a subtle play with various aspects of diegesis and mimesis which pervades the whole collection of hymns and gives it a certain unity, because it draws attention to the way in which narratives or descriptions are presented in the hymns. Although the emphasis on mimesis or diegesis may vary, none of the hymns can be regarded as diegetic in all its aspects and there is a great deal of fluctuation between, the two modes of presentation both within the collection and within the individual hymns.
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Nina Penner. "Rethinking the Diegetic/Nondiegetic Distinction in the Film Musical." Music and the Moving Image 10, no. 3 (2017): 3. http://dx.doi.org/10.5406/musimoviimag.10.3.0003.

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28

Purse, Lisa. "Affective Trajectories: Locating Diegetic Velocity in the Cinema Experience." Cinema Journal 55, no. 2 (2016): 151–57. http://dx.doi.org/10.1353/cj.2016.0008.

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29

Winters, B. "The Non-diegetic Fallacy: Film, Music, and Narrative Space." Music and Letters 91, no. 2 (April 26, 2010): 224–44. http://dx.doi.org/10.1093/ml/gcq019.

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30

Dean, Robert. "Diegetic Musical Motifs in Ibsen'sA Doll's HouseandJohn Gabriel Borkman." Ibsen Studies 11, no. 01 (June 2011): 51–70. http://dx.doi.org/10.1080/15021866.2011.575644.

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31

DEAN, ROBERT. "Naturalizing the artifice: The integration of diegetic theatre music." Studies in Musical Theatre 5, no. 3 (January 20, 2012): 257–70. http://dx.doi.org/10.1386/smt.5.3.257_1.

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32

Poznin, Vitaliy F. "Metaphor in Cinema: Specifics of its Creation and Perception." Journal of Flm Arts and Film Studies 9, no. 4 (December 15, 2017): 60–70. http://dx.doi.org/10.17816/vgik9460-70.

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The main feature of a metaphor is the transfer of the characteristics of one object to another one, i.e. categorical shift of meanings and a new semantic content arising as a result of it. Unlike the linguistic metaphor, which is actually a tightened, compressed similarity or contiguity, the local cinema metaphor as a rule is a visual comparison of specific objects. The author analyzes the difference and interaction of verbal and visual metaphors. Some features of creating a non-diegetic cinema metaphor are like a mechanism of creating a hieroglyph, because screen metaphors are often a way of describing an abstract concept through the connection of images of concrete objects. A particular object can acquire a metonymic and metaphorical meaning due to the context of episode. For modern figurative language of cinema a diegetic metaphor is more organic, because this one is a part of the screen narration. A significant role in the creation of the diegetic screen metaphor plays both the previous experience and the short-term memory of the viewer, helping him/ her to apprehend the metaphor. The questions considered in the article are just a small part of the theory of screen metaphor, which includes the consideration of such kinds of metaphor as orientational (spatial), conceptual, dynamic, color and sound metaphor, as well as analysis of a metaphor usage in different genres of animation, documentary, comedy.
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Brodahl, Greta. "Jean-Philippe Toussaint." Revue Romane / Langue et littérature. International Journal of Romance Languages and Literatures 55, no. 2 (September 23, 2019): 214–36. http://dx.doi.org/10.1075/rro.17007.bro.

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Abstract The purpose of this article is to study the intertextual play in four novels grouped under the label « MARIE MADELEINE MARGUERITE DE MONTALTE » by the Belgian author Jean-Philippe Toussaint. The theoretical tool to study this phenomenon is the theory of intertextuality and the intertextual typology in particular, extracted from Gérard Genette’s Palimpsestes: la littérature au second degré (1982) and Tiphaine Samoyault’s Intertexte, Mémoire de la littérature (2001). The main question the study raises is what function the intertexts occupy in the tetralogy. The article distinguishes between a diegetic and a metaliterary function. The study shows that the intertexts, mostly allusions, only play a minor role in the diegesis. However, several allusions occupy a metaliterary function. Through these, the author debates literary questions. The author’s attitude is playful: He gently mocks the authors behind the intertexts and enters into a dialogue with them at the same time.
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Karkiewicz, Magdalena. "Metalepsa jako strategia narracyjna w dziełach literackich i filmowych (analiza zjawiska na wybranych przykładach)." Załącznik Kulturoznawczy, no. 2 (2015): 384–475. http://dx.doi.org/10.21697/zk.2015.2.23.

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Logically forbidden transition, the impossible transgression, fictional characters moving through the boundaries between levels of (un)reality and the attempt to cross the ‘frames’ of artistic presentation constitute the essence of the subject of this dissertation: the metalepsis. This term, originally derived from the rhetoric, was annexed to narratology field in 1972 by a French theoretician, Gérard Genette. In his book Figures III, he described a narrative metalepsis (ʻla métalepse narrativeʼ) as ʻany intrusion by the extradiegetic narrator or narratee into the diegetic universe (or by diegetic characters into a metadiegetic universe, etc.), or the inverse.ʼ The definition became a starting point for further research on metalepsis, which in recent years has gained particular popularity in Western Europe. It was noticed that metalepsis is particularly characterized by the comic potential and Woody Allen’s movie ‘Purple Rose of Cairo’ is a perfect example of it. However, the influence range of this figure seems to go far beyond the mere evocation of emotions. The analyzed examples of the use of metalepsis as a narrative strategy, for example a short story written by Julio Cortázar The Continuity of Parks, have emphasized the specificity of impact of this figure on the recipient. By corresponding with such phenomena as ʻmise en abymeʼ or ʻtext in the textʼ, metalepsis draws attention to the recipients, the readers or the viewers themselves and puts them in ontological uncertainty concerning their own existence. Since heroes of the fictional worlds can move between levels of diegesis, leave the novel or the cinema screen, read the book about their own fate or suddenly realize that they are the imaginary creatures created by some higher creative’s instance and ruled by a higher order, then how can we be sure that we are for r e a l ?
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Smith, Jennifer. "Vocal disruptions in the aural game world: The female entertainer in The Witcher 3: Wild Hunt, Transistor and Divinity: Original Sin II." Soundtrack 11, no. 1 (August 1, 2020): 75–97. http://dx.doi.org/10.1386/ts_00006_1.

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The voice as disruption is not a new concept. Disruptions to discourses, relationships and lifestyles can be caused by the insertion of the voice. In video games, voices can be disruptive to player progressions, gameplay and character relationships through dialogue and performances. The female entertainer frequently disrupts the aural space of a game through her uniqueness as a performer at the forefront of the diegetic space, using song to tell her own story. The video games The Witcher 3: Wild Hunt (2015), Transistor (2014) and Divinity Original Sin II (2017) use diegetic female entertainer voices to disrupt the video game’s continuity. These case studies consider performance as disruption to gameplay, which is significant for the growth of the story and its characters, alongside the player’s understanding of the game’s musical meanings.
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Killander Cariboni, Carla. "La sceneggiatura teatrale inedita di “La Virtù di Checchina”." Revue Romane / Langue et littérature. International Journal of Romance Languages and Literatures 52, no. 2 (December 8, 2017): 282–300. http://dx.doi.org/10.1075/rro.52.2.11kil.

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Sommario This article deals with a comparison between Matilde Serao’s short story “Checchina’s Virtue” (1884) and the homonymous unpublished theatrical script written by Massimo Franciosa (1995), of which a summary is provided. The comparison between the source text and the adaptation draws on the debate about the narrativity of drama in which many scholars have engaged in the last decades: Richardson (1987), Chatman (1990), Jahn (2001), Fludernik (2008) and Nünning & Sommer (2008). The analysis focuses on two forms of diegetic narrativity that appear in the short story, i. e. free indirect discourse and the iterative mode, in order to see how the theatrical script deals with them. The analysis shows that the script preserves the narrative contents of the source text and highlights how diegetic and mimetic narrativity collaborate to the reworking and redistribution of those contents.
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Louw, S. "Die ontvanger en Die vuurtoring, ’n metadiëgetiese televisiedrama." Literator 13, no. 3 (May 6, 1992): 111–22. http://dx.doi.org/10.4102/lit.v13i3.780.

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The perceiver of Die vuurtoring (The lighthouse) is placed in an awkward position due to the unusual code structures in this metafilmic teleplay. The prologue is separated from the metadiegetic level by the title sequence, whereupon the diegetic direction changes completely. The nature of the narrative following this sequence is only recognized as metadiegetic at the end of the teleplay. After the punctuation of the title sequence metafilm is foregrounded. Internal cameras, video and sound recordings feature throughout the narrative. The narrating style also changes into a metafilmic presentation: in a single filmic syntagm the colour rendering might fade and change to black/white; other sequences might be rendered in both colour and black/white; or only as black/white syntagms. During these black/white sequences an extradiegetic voice comments on aspects which are external to the diegesis. The process of decoding this teleplay is problematic and the reader/receptor has to work very hard in the production of meaning.
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Virginás, Andrea. "Embodied Genetics in Science-Fiction, Big-Budget to Low-Budget: from Jeunet’s Alien: Resurrection (1997) to Piccinini’s Workshop (2011)." Acta Universitatis Sapientiae, Film and Media Studies 8, no. 1 (September 1, 2014): 149–66. http://dx.doi.org/10.2478/ausfm-2014-0031.

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Abstract The article uses and revises to some extent Vivian Sobchack’s categorization of (basically) American science-fiction output as “optimistic big-budget,” “wondrous middle-ground” and “pessimistic low-budget” seen as such in relation to what Sobchack calls the “double view” of alien beings in filmic diegesis (Screening Space, 2001). The argument is advanced that based on how diegetic encounters are constructed between “genetically classical” human agents and beings only partially “genetically classical” and/or human (due to genetic diseases, mutations, splicing, and cloning), we may differentiate between various methods of visualization (nicknamed “the museum,” “the lookalike,” and “incest”) that are correlated to Sobchack’s mentioned categories, while also displaying changes in tone. Possibilities of revision appear thanks to the later timeframe (the late 1990s/2000s) and the different national-canonical belongings (American, Icelandic-German- Danish, Hungarian-German, Canadian-French-American, and Australian) that characterize filmic and artistic examples chosen for analysis as compared to Sobchack’s work in Screening Space.1
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Debora, Natasya Abrinta, and Marti Fauziah Ariastuti. "Recounting Traumatic Events: Pragmatic and Multimodal Discourse Analysis in Audrie and Daisy (Pengisahan Kejadian Traumatis: Analisis Wacana Multimodal dan Pragmatik dalam Audrie dan Daisy)." MOZAIK HUMANIORA 20, no. 2 (November 10, 2021): 194. http://dx.doi.org/10.20473/mozaik.v20i2.17575.

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AbstrakFilm sebagai wacana sinematik dapat menjadi media untuk membahas hasil kerja sistem linguistik, fitur audio-visual, dan efek visual lainnya dengan menggunakan pendekatan pragmatik. Makalah ini bertujuan menganalisis wacana sinematik sebuah film dokumenter berjudul Audrie and Daisy, yang menggambarkan kronologi perundungan dan kekerasan seksual yang dialami oleh dua siswi sekolah menengah bernama Audrie dan Daisy, dengan menggunakan pendekatan pragmatik. Makalah ini menjelaskan bagaimana sistem linguistik yang berkaitan dengan penggunaan bahasa pada wawancara dan investigasi, sinematografi, dan mise-en-scene pada film berhubungan satu dengan yang lain sehingga menjadikan pesan dan isi cerita menjadi bermakna. Penelitian ini menggunakan metode penelitian kualitatif untuk mendapatkan gambaran dan pemahaman mengenai unsur-unsur penting dalam film. Tujuan dari penelitian ini tidak hanya untuk menunjukkan fitur-fitur wacana sinematik tetapi juga untuk menjelaskan makna tersirat dari fitur-fitur tersebut dalam film dan menganalisis tata organisasi film. Dalam pendekatan pragmatik dan wacana sinematik, gagasan mengenai verbal (suara diegetik) dan non-verbal (suara non-diegetik) berkaitan dengan multimodalitas film yang menjadikan pesan menjadi bermakna. Selain itu, hasil penelitian memperlihatkan bahwa film ini menggunakan pendekatan monochronicity untuk menyusun dokumen sinematografi.Kata kunci: Audrie and Daisy, analisis wacana multimodal, sistem linguistik, fitur audio visual, monochronocity Abstract A movie as a cinematic discourse can be a medium for examining the work of linguistic system, audio-visual features, and other visual effects by using the pragmatic approach. This paper aims to analyze the pragmatic and cinematic discourse in a documentary movie Audrie and Daisy, which portrays the chronology of bullying and sexual assault experienced by high school students, Audrie and Daisy. This paper describes how the linguistic systems which are related to the language used in the interview and investigation, the cinematography, and mise-en-scene of the movie can link to one another to make the message and the content of the story meaningful. This study employs a qualitative research method to gain insight and understanding of the significant elements of the movie. The purpose of this research is not only to point out the features of cinematic discourse but also to explain the meaning of the features in the movie and analyze the organization of this movie. Within the framework of pragmatic and cinematic discourse, the notion of verbal (diegetic sound) and non-verbal (non-diegetic sound) are connected to the multimodality of the movie to make a message purposeful. The documentary also utilizes the monochronicity approach to compose the cinematography document.Keywords: Audrie and Daisy, multimodal discourse analysis, linguistic system, audio-visual features, monochronicity
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40

Smith, Jeff. "Bridging the Gap: Reconsidering the Border between Diegetic and Nondiegetic Music." Music and the Moving Image 2, no. 1 (April 1, 2009): 1–25. http://dx.doi.org/10.5406/musimoviimag.2.1.0001.

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ABSTRACT This article offers an alternative model for conceptualizing the boundary between diegetic and nondiegetic music in film. Most attempts to explain this phenomenon falter because they take this distinction to be solely an effect of a film’s narration and focus largely on the spectator’s apprehension of music’s diegetic or nondiegetic status. Instead, concepts like Robynn Stillwell’s “fantastical gap” might be viewed more productively through a lens that combines three interrelated, but nonetheless theoretically separable, issues: the music’s relation to narrative space, the film narration’s self-consciousness and communicativeness, and the music’s aural fidelity. To illustrate the utility of a model that considers all three of these as factors, I employ several examples where the apparent ambiguity of music’s relation to narrative space can be explained by the manipulation of aural fidelity, the use of spatially displaced sound, and the momentary suppression of information characteristic of film narration’s communicativeness.
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Strykowski, Derek R. "The Diegetic Music of Berg’sLulu: When Opera and Serialism Collide." Journal of Musicological Research 35, no. 1 (January 2, 2016): 1–22. http://dx.doi.org/10.1080/01411896.2015.1082066.

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Milic, Sasa. "10.5937/kultura1442113m = Knowledge and the diegetic world of feature film." Kultura, no. 142 (2014): 113–34. http://dx.doi.org/10.5937/kultura1442113m.

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O'NEILL, JAMES, and FRAUKE HEIN. "Office Humour: Diegetic Explorations of Negotiated Algorithmic and Human Agency." Ethnographic Praxis in Industry Conference Proceedings 2019, no. 1 (November 2019): 23. http://dx.doi.org/10.1111/1559-8918.2019.01252.

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44

Zavros, Demetris. "Encounters with ‘the same’ (but different): London Road and the politics of territories and repetitions in verbatim musical theatre." Studies in Musical Theatre 15, no. 3 (December 1, 2021): 219–35. http://dx.doi.org/10.1386/smt_00076_1.

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Using Deleuze and Guattari’s notion of the ‘refrain’, the article investigates London Road as an example of a ‘minor’ practice in musical theatre, which engages with a tracing and play with ‘territories’ as well as several acts of deterritorialization and reterritorialization. These processes are examined both at the level of content (and the thematic considerations of ‘inclusion’ and ‘exclusion’ in the building of a community) and form. The performance introduces new relationships and functions between the components/means at the musical’s disposal and invites a different type of audience engagement (or ‘encounter’) by destabilizing fixed forms and categories like song/speech, lyric/book, diegetic/non-diegetic, audience/actors, auditorium/stage and ultimately reality/representation. This case study exemplifies how the hybrid form of the ‘verbatim musical’ has the potential to mutually deterritorialize both of the genres it brings in dialogue and allows for a new type of engagement with the politics of the musical in the twenty-first century.
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Axelson, Tomas. "Vernacular Meaning Making." Nordicom Review 36, no. 2 (October 1, 2015): 143–56. http://dx.doi.org/10.1515/nor-2015-0022.

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Abstract The outcome of an audience study supports theories stating that stories are a primary means by which we make sense of our experiences over time. Empirical examples of narrative impact are presented in which specific fiction film scenes condense spectators’ lives, identities, and beliefs. One conclusion is that spectators test the emotional realism of the narrative for greater significance, connecting diegetic fiction experiences with their extra-diegetic world in their quest for meaning, self and identity. The ‘banal’ notion of the mediatization of religion theory is questioned as unsatisfactory in the theoretical context of individualized meaning-making processes. As a semantically negatively charged concept, it is problematic when analyzing empirical examples of spectators’ use of fictional narratives, especially when trying to characterize the idiosyncratic and complex interplay between spectators’ fiction emotions and their testing of mediated narratives in an exercise to find moral significance in extra-filmic life. Instead, vernacular meaning-making is proposed.
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Poluliashina, Daria I. "REPRESENTATION OF IDENTITY CRISIS IN KSENIYA BUKSHA’S BOOK «OPENS INWARD»." Vestnik of Kostroma State University, no. 2 (2020): 198–203. http://dx.doi.org/10.34216/1998-0817-2020-26-2-198-203.

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This article is devoted to analyses of representation of identity crisis disconnection between personality and character, consciousness diffusion, existential search of my own self) in Kseniya Buksha’s book «Opens inward». Firstly, we analyse complicated structural subject organisation of the text (diegetic and extradiegetic narrator, focalisators), which coexist in one statement. Secondly, it is investigated how diegetic space correlates with internal world of heroes. We come to conclusion 18 tales of this book are the narrative of subject of speech. He narrates about his traumatic experience by the voices of the heroes who can be interpreted as refl ections of fragmentary, non-intact consciousness. Invariant plot of trying to restore a defi cit of identity is constructed by unit cumulative scheme. Final disaster leads subject either to gaining his identity or to fi nal catastrophe. Analysing of the scheme of the plot, composition, subject system, system of cross-cutting personages and details allows to make a conclusion about structural unity based on invariant sense. It is the idea of overcoming of existential inertia.
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White, Mimi. "Crossing Wavelengths: The Diegetic and Referential Imaginary of American Commercial Television." Cinema Journal 25, no. 2 (1986): 51. http://dx.doi.org/10.2307/1225459.

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Virginás, Andrea. "On the Role of Diegetic Electronic Screens in Contemporary European Films." Acta Universitatis Sapientiae, Film and Media Studies 15, no. 1 (October 1, 2018): 87–102. http://dx.doi.org/10.1515/ausfm-2018-0005.

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Abstract Given the present proliferation of profilmic electronic screens in narrative feature films, it is of some interest to examine their role apart from that of denoting objects pertaining to everyday reality. Electronic screens within the European-type filmic diegeses – characterized by adhering to conventions of (hyper)realism, non-hypermediation and character-centered storytelling – in a digital era are used not only as props, but as frames that re-order and aestheticize levels of reality (Odin 2016), while focusing, in a hypnotic manner, the viewers’ attention (Chateau 2016) on traumatic memories related to usually female characters, and consequently to the collectivities they represent in the respective diegetic worlds. These electronic screens force the viewer to constantly shift between the actual cinematic screen conventions and the mental screen (Odin 2016) of smaller formats, training the film viewers for experiences of expanded and fragmented cinema (Gaudreault and Marion 2015).
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Carson, Robert. "Diegetic Labor History - Bisbee ’17 (Film, directed by Robert Greene, 2018)." Journal of the Gilded Age and Progressive Era 19, no. 1 (November 29, 2019): 171–73. http://dx.doi.org/10.1017/s1537781419000562.

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Harwood, Tracy, Tony Garry, and Russell Belk. "Design fiction diegetic prototyping: a research framework for visualizing service innovations." Journal of Services Marketing 34, no. 1 (December 19, 2019): 59–73. http://dx.doi.org/10.1108/jsm-11-2018-0339.

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Purpose The purpose of this paper is to present a design fiction diegetic prototyping methodology and research framework for investigating service innovations that reflect future uses of new and emerging technologies. Design/methodology/approach Drawing on speculative fiction, the authors propose a methodology that positions service innovations within a six-stage research development framework. The authors begin by reviewing and critiquing designerly approaches that have traditionally been associated with service innovations and futures literature. In presenting their framework, authors provide an example of its application to the Internet of Things (IoT), illustrating the central tenets proposed and key issues identified. Findings The research framework advances a methodology for visualizing future experiential service innovations, considering how realism may be integrated into a designerly approach. Research limitations/implications Design fiction diegetic prototyping enables researchers to express a range of “what if” or “what can it be” research questions within service innovation contexts. However, the process encompasses degrees of subjectivity and relies on knowledge, judgment and projection. Practical implications The paper presents an approach to devising future service scenarios incorporating new and emergent technologies in service contexts. The proposed framework may be used as part of a range of research designs, including qualitative, quantitative and mixed method investigations. Originality/value Operationalizing an approach that generates and visualizes service futures from an experiential perspective contributes to the advancement of techniques that enables the exploration of new possibilities for service innovation research.
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